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1970\'S VINTAGE SONY C-38B CONDENSER MICROPHONE MIC For Sale


1970\'S VINTAGE SONY C-38B CONDENSER MICROPHONE MIC
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1970\'S VINTAGE SONY C-38B CONDENSER MICROPHONE MIC:
$950.00

Welcome to vintagemiclover store.We love vintage mics!
I always list many of rare vintage mics.Please visit mystore.Making offer is welcome.
This is 1970\'s made SONY C-38B condenser microphone with accessories including:
carrying caseblue pouchpolar pattern setting tool
There are scratches and paint chips on mic body.Please check pics.
Works great.No issues.This mic works with 9V battery or 48V phantom power.
Shipping charge is $60 all over the world.
Connector is Cannon XLR male.
Bonus!1pc of mic stand screw included.You can choose 3/8 inch size or 5/8 inch size.It is hard to get.It also fits RCA 77DX or 44BX etc.
And more!1pc of manual copy in English.The below is from MiX.

ALL-PURPOSE STUDIO FET CONDENSER MAKES CURTAIN CALL

Sony\'s C-38B is certainly one of the oldest new mics around. The lineage of this latest version goes back to 1965, when Sony unveiled the successor to its famed C-37A tube mic. But the C-38 had one major difference from the C-37A, as the newcomer was the world\'s first Field Effects Transistor (FET) microphone. In 1969, the C-38 was updated as the model C-38A with a change in the windscreen design, and again in 1971 to the C-38B, which added phantom power (9-volt battery or external DC 24V to 48V). Now, after years of absence, it\'s back: At the Fall 2003 AES show in New York, Sony “reintroduced” the C-38B, even though more than 65,000 of these studio classics are in use today.

First released in 1965 as the C-38 FET, Sony\'s new C-38B is beautifully constructed of painted brass, weighs in at 23 ounces and features a large 1⅓-inch, six-micron-thick, gold-deposited Mylar diaphragm with brass back plane. With the same diameter and structure as the C-37A capsule, this is a true condenser capsule polarized with 100 volts. A steel mechanical shutter, operated through a small recessed hole on the back of the mic, changes the polar pattern from unidirectional to omnidirectional.

Also on the mic\'s backside is the on/off/low-cut selector rotary switch. Not looking like a switch at all, it is actually a knurled metal collar that surrounds the mic cable\'s entry into the C-38B body. There are five switch positions: off for conserving the internal battery; M for full-range response; and M1, V1 and V2 for bass roll-off starting at 40 Hz, 80 Hz and 160 Hz, respectively. All three roll-offs are 6dB/octave curves.

SECRET COMPARTMENT

A slick pop-open door on the front of the mic allows you to insert a standard 9-volt (6F-22) battery, select the -8dB attenuator pad or engage the -6dB/octave 7kHz roll-off filter. Indicating the relative condition of the battery is a red light bulb visible at the bottom of the mic\'s body that flashes momentarily when you first turn on the mic.

The C-38B finishes with a gimbaled U-shaped mounting bracket that attaches to either side of the mic\'s body with two thumb-nuts. This feature resembles the C-37A or the venerable RCA DX-77 ribbon mic. The bracket terminates in a rubber shock-mount socket in a threaded base that has a strain relief for the 20-foot attached mic cable and XLR connector. There is no elastic suspension shock-mount available.

IN THE STUDIO

I always do my first general comparisons while talking directly into the mics and having my assistant switch between them on my cue. Compared to the Sony C-38B, a Soundelux U195 sounded less open and less “in your face”; the Sony was much more present. An AKG C 414 ULS had less top, bottom and lower midrange than the C-38B, while a Neumann U87 was thinner-sounding due to an upper mid-range boost as compared to the flatter C-38B. Only the much more expensive Neumann M149 tube beat the Sony in overall openness and bigness in sound.

Next, I used the C-38B on drums, bongos, vocals, acoustic guitar and then as a room mic. In all cases, the Sony performed very well, making it a very versatile, first-choice “go-to” all-purpose condenser mic. When recording a set of Gon Bops bongos, the Sony sounded warm and captured more of the overall drum tone.

Through the C-38B, both female and male vocals sounded full, and there was no folding up with loud singing right on the diaphragm. You\'ll need a pop filter, but the slight high-frequency lift on this mic more than makes up for any loss. The great proximity effect in unidirectional mode was useful to my thin-sounding singer. I had no sibilance problems with close singing and I didn\'t have to use the -8dB pad.

On acoustic guitars, once again the C-38B\'s full, fat sound worked great, although I had to move it back from the guitar and crank more mic preamp gain. I tried the M1 roll-off position when I got close to the guitar\'s sound hole, and it did the trick. Position V1 is fairly drastic but usable if you\'re close-miking and trying to slim down a large-bodied acoustic, such as a Gibson J-200, to sound more like a bluegrass guitar, such as a Collings 0M-2H. The V2 position is very telephonic-sounding and works for special effects. Switching to omnidirectional also sounded great on acoustic: I could move in closer without the bass build-up.

In general, either pattern is crisp and even — not overly bright or thick in the lower midrange. If you always carve acoustics to fit the part or track with an equalizer (like I do), this mic will start you out in a good place. Finally, for room miking, the C-38B in omni mode picked up everything in good balance. The smooth response de-emphasized the room\'s inherent boxy sound.

CONCLUSION

The C-38B is the perfect choice for an all-around utilitarian studio microphone that you can freely use with great results for any recording task. I\'d recommend a stereo pair for room mics, string sections or drum overheads. The clear high-frequency response and solid low frequencies will present you with a true-to-life sonic picture. The C-38B sells for $2,200.


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